Goin' Home | Chapter

Total Page:16

File Type:pdf, Size:1020Kb

Goin' Home | Chapter CHAPTER ONE ‘SOUNDS IN HIS HEAD’ ILL COLYER The same way that George Lewis and the New Orleans kids who grew up with those sounds from thecradle—Ken’swasthesamesortofbackground;he’d got sounds in his head… I’d be indoors when I was at home playing my records and obviously those sounds were going into Ken’s head. BEN MARSHALL There used to be a regular article in BtheReader’sDigestcalled“ The Most Unforgettable Character I’ve Ever Met ”—Ken would be mine. His life story reads like a film script; at his peak, playing some of the most glorious jazz trumpet to be heard, and at his lowest, suffering the pain and distress of serious illness and seemingly throughout his life a victim of the frustration he felt, as crystallised in a quote from his book, which he gave me years ago, New Orleans and Back : “I was born about 60 years too late, the wrong colour and in the wrong country—a misfit.” JULIAN DAVIES There’s that little bit in McSorley’s Wonderful Saloon by Joseph Mitchell—a book that meant a lot to Ken. “The people in a number of the stories—in this book—are the kind that many writers haverecentlygotintothehabitofreferringtoas‘littlepeople’.”Iregard thisphraseaspatronisingandrepulsive.Therearenolittlepeopleinthis book. They are as big as you are… whoever you are.” DIZ DISLEY I used to think he reminded me of Stalin. He wasn’t a very good player but he was a good bloke. KEN COLYER SomepeopletendtothinkthatI’mverynarrow-minded in my musical tastes. But this isn’t so. I am in what I want to play. But of course, I mean, I like other styles of jazz, as well. And I’m well aware of them, you know. The display case for the MONTY SUNSHINE Ken was very, very deeply feeling the music. start of British Jazz at the That’s what he felt, and that’s all you needed to have, as far as I was British Music Experience concerned, and I enjoyed his playing, which was fine; he was a great in London with Ken’s pleasure to play with. I mean, in a way it’s the same as—the Hot Fives Derby mute and trumpet and so on are all very well, but in a way, it would be better if Louis played at the centre like George Mitchell. I’ve heard that remark more or less made. Well, Ken was like that. He had that quality, that you don’t notice. 17 GoKeinn’CHoolymere||CChhapatpetreOrnOen| Ie n|T‘ShoeuBnegdisnnininhg is head’ JULIAN DAVIES I realised that down there even, and found out what it was really like to be a Ken photographed at blackman—whichhewouldhavefoundout—reallyfoundout. the flat in Lillie Road, for the first time in my life And Ken Colyer said he couldn’t go in to the boozer with Fulham, London in 1956 I was listening to a man ’em, because of the colour bar. who actually meant what he COLIN BOWDEN I know that he liked Harry James, and I know that he liked Percy Humphrey, but he probably liked all played. He wasn’t just playing oftheveryNewOrleansplayers.Buthehadalotofrespectfor a tune, he was living it. musicians outside his genre. “Man, you sound just like DOUG LANDAU His technique was well crafted rather than spectacular, but this was probably an artistic choice; he is on Mutt Carey.” Ken turned record as thinking Louis Armstrong’s dominating to me and said, “Do you flamboyance to be “not for the benefit of the band.” His approachstoodhimingoodsteadwhentacklingtheintricacies want to join my band?” ofrags,whichhealwayscarriedoffwithauthority.Stylistically he was much influenced by most of the New Orleans PAT HAWES I often got the feeling, when I was playing with trumpetersthatcametotheforeintherevival,MuttCareyand him, that he’d much rather be somewhere else, or doing Bunk in particular, but he was never a slavish copyist, something else. There is for my mind a distinct link fashioning these influences in his own way. between the playing of Ken Colyer and Miles Davis. But I can hear it up there, rather than I can put it down on my KEN SIMS He wasn’t a stomper. I mean, if you listen to fingers, or writing or whatever. Herman Autrey or George Mitchell—they joined the rhythm section. Ken didn’t do that—he was a lyrical, melodic player. SONNY MORRIS Around ’53 when he came back from New Beautiful. Orleans, he was over the moon about Percy Humphrey. That was the greatest thing ever, according to Ken, when he came PHILIP LARKIN Colyer combines a robust public back from there—Percy Humphrey. personality with the tenderest of instrumental tones. BILL COLYER Butofcourse,playingatsea,yougottheopen- DICK SMITH He did sort of bully you a bit. But when you airlungs,soKenwasloud.Don’tforget,he’dheardWildBillin joinedhisbandyouknewwhatyouwereexpectedto…belike. Condon’s,whowaspowerful,andtheywereonlytinyclubsin Yeah, he told me not to do anything fancy. None of this New York, so you’d sit this close to Wild Bill. That’s a wall of bopping. And you could tell whether you were in with him. If sound. Ken was on an “Iron Chops” thing. He learnt light you were standing behind him, you’d know. and shade afterwards, power not noise. I enjoyed it with Ken. I don’t know how, but he just managed to bring the best out in you. JIM GODBOLT All the guys that were making a lot of money out of New Orleans jazz never went there, including STAN GREIG He was alright. I mean… he was a bit grumpy, Humphrey Lyttleton, by the way—I don’t think Humph ever that was the only thing. I thought he was just a guy with very went to New Orleans. But Ken did—he made the effort; definite ideas. Nothin’ wrong with that. gettingonthatboat,gettingofftheboat,jumpingship,onthe bus down to New Orleans. It was like Scott of the Antarctic. DELPHINE COLYER I think he thought everyone was against him—I don’t think he thought many people were on ED O’DONNELL One day I said I thought Mezzrow’s book his side. If he had a sort of magic session, I suppose he would werealoadofrubbish;well…Kenwentupintheair.Sitsdown have thought that we were all going the same way, but I think an’ mumbles something and John Parker gets up and sits he was fighting an uphill battle all the time, really. down between us and says “Get on with your dinner.” And I never got a chance to explain. KEN SIMS A very kind man—he was very good to me. And I thought: “You jumped your ship, took a risk, made Without him I would have been sleeping in doorways, your way down on the Greyhound, and went down to New certainlyatthattime.EvenwiththeBilkband,itwasveryhard Orleans, and Mezzrow didn’t have to do that.” You know, to save any money. Couldn’t go home to Mum. Mezzrow got some money off his father, probably, which he Ken was there—at Lillie Road—but he was having some could’ve.Imean,hecould’vetakenatraindownthere,orabus kindofproblemswithhisstomach.Hehadthisladycomingin Goin’ Home | Chapter One | ‘Sounds in his head’ to care for him, who cooked him enormous meals, and Ken of view, and he was quite exciting to play with. All musicians Ken with Sister Rosetta wouldgivememostofit,soI’deatmineandhis.Andhehadan should have the “Four Ts”: Timing, Tone, Taste and Tharpe at the 51 amazing record collection. Small groups from the Basie band, Technique. By technique I mean being able to do what you and then the next one would be what sounded to me like a want to on your instrument. second-rateSalvationArmyband—anditwaswonderfulstuff. ALAN COOPER He was unswerving, never mind whether it JOHNNY PARKER Well,personally,Iwasfrightenedofhim, made a few bob or it didn’t. I mean, he was doing something because, you know, it was the old class thing of middle-class and he said this is what it’s about and did it, and I have the from a grammar school and there he was—rough speaking. greatest admiration and respect for that. And so the wheel He looked as though, you know, he’d sooner hit you than talk moves an inch further. to you. JOHN KEEN He was initially a jazz fan, like a lot of us were; CHRIS BARBER His accent, to me, always sounded a bit like we wanted to play like that. But he was much more talented a cross between Australian and Birmingham, which is about than most of us. And he soon found that he could play the same—a funny, very strange accent. effectively, but he also had a kind of a latent potential Ken sounded about the same to me, all the time. I mean… leadership inside of him, which meant that he knew what he it’s a very recognisable, individual sort of accent; it’s his voice wanted quite early on; and from what I know of him, he more than the accent. Stu Morrison can do it perfectly. When actually used to go around to people’s houses and say, “Look, Stujoinedtheband,StuwasstandingbehindIanWheeler,and we’re gonna form a band and this is what it’s gonna be like.” Stu said “Wheeler,” and Ian nearly jumped out of his skin, Idon’tknowwhetherthewordcrusade isright,buthehad because he thought Ken was standing behind him. akindofavision,anditalsofittedinwiththatpost-warworld of: “Well, this is a democratic music and those people who RON BOWDEN He didn’t speak a lot; but when he did, you weren’t commercial in the United States—the black blokes knew what he meant. who played from their heart—they never got the exposure, and perhaps it’s up to us to do it.” DAVE BRENNAN I never found Ken a particularly disagreeableman.Hewasjustforthright.Somethingspleased BILL REID Hedid haveamagictohim.ButquitehowKenhad himenormously.IoncesaidheremindedmeofLeeCollinsin this magic, and this awe that got over to people, I don’t know, some of his playing.
Recommended publications
  • The Jazz Rag
    THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days.
    [Show full text]
  • Wealthy Business Families in Glasgow and Liverpool, 1870-1930 a DISSERTATION SUBMITTED TO
    NORTHWESTERN UNIVERSITY In Trade: Wealthy Business Families in Glasgow and Liverpool, 1870-1930 A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of History By Emma Goldsmith EVANSTON, ILLINOIS December 2017 2 Abstract This dissertation provides an account of the richest people in Glasgow and Liverpool at the end of the nineteenth and beginning of the twentieth centuries. It focuses on those in shipping, trade, and shipbuilding, who had global interests and amassed large fortunes. It examines the transition away from family business as managers took over, family successions altered, office spaces changed, and new business trips took hold. At the same time, the family itself underwent a shift away from endogamy as young people, particularly women, rebelled against the old way of arranging marriages. This dissertation addresses questions about gentrification, suburbanization, and the decline of civic leadership. It challenges the notion that businessmen aspired to become aristocrats. It follows family businessmen through the First World War, which upset their notions of efficiency, businesslike behaviour, and free trade, to the painful interwar years. This group, once proud leaders of Liverpool and Glasgow, assimilated into the national upper-middle class. This dissertation is rooted in the family papers left behind by these families, and follows their experiences of these turbulent and eventful years. 3 Acknowledgements This work would not have been possible without the advising of Deborah Cohen. Her inexhaustible willingness to comment on my writing and improve my ideas has shaped every part of this dissertation, and I owe her many thanks.
    [Show full text]
  • Eric Hobsbawm and All That Jazz RICHARD J
    Eric Hobsbawm and all that jazz RICHARD J. EVANS The latest annual collection of Biographical Memoirs of Fellows of the British Academy, published in December 2015, includes an extended obituary of Eric Hobsbawm (1917-2012), written by Professor Sir Richard Evans FBA. Hobsbawm was one of the UK’s most renowned modern historians and left-wing public intellectuals. His influential three-volume history of the 19th and 20th centuries, published between 1962 and 1987, put a new concept on the historiographical map: ‘the long 19th century’. The full obituary may be found via www.britishacademy.ac.uk/memoirs/14/ This extract from the obituary reveals Eric Hobsbawm’s less well-known interest in jazz. here seemed to be no problem in Eric’s combining his post at Birkbeck College [University of London] Twith his Fellowship at King’s College Cambridge, but when the latter came to an end in 1954 he moved permanently to London, occupying a large flat in Torrington Place, in Bloomsbury, close to Birkbeck, which he shared over time with a variety of Communist or ex- Communist friends. Gradually, as he emerged from the depression that followed the break-up of his marriage, he began a new lifestyle, in which the close comradeship and sense of identity he had found in the Communist movement was, above all from 1956 onwards, replaced by an increasingly intense involvement with the world of jazz. Already before the war his cousin Denis Preston had played records by Louis Armstrong, Bessie Smith and other musicians to him on a wind-up gramophone Eric Hobsbawm (1917-2012) was elected a Fellow of the British Academy in Preston’s mother’s house in Sydenham.
    [Show full text]
  • 'Slow Drag' Pavageau
    NEWSLETTER OCT-2016 ologyology Alcide ‘Slow Drag’ Pavageau G.H.B. JAZZ FOUNDATION • JAZZOLOGY RECORDS GEORGE H. BUCK JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116 Phone: +1 (504) 525-5000 Office Manager: Lars Edegran Fax: +1 (504) 525-1776 Assistant: Mike Robeson Email: [email protected] Office Hours: Mon-Fri 11am – 5pm Website: www.jazzology.com Entrance: 61 French Market Place Newsletter Editor: Paige VanVorst Contributors: Lars Edegran, Mike Layout & Design: David Stocker Robeson, David Stocker HOW TO ORDER COSTS – U.S. AND FOREIGN MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB Jazz Foundation. You will then receive your membership card by return mail or with your order. *Membership continues as long as you order at least one selection per year. You will also be able to buy our products at a special discounted price: CDs for $13.00 DVDs for $20.00 Books for $25.00 NON-MEMBERS For non-members our prices are: CDs for $15.98 DVDs for $25.00 Books for $30.00 DOMESTIC MAILING & POSTAGE CHARGES There is a flat rate of $3.00 regardless of the number of items ordered. OVERSEAS SHIPPING CHARGES 1 CD $13.00; 2-3 CDS $15.00; 4-6 CDS $20.00; 7-10 CDS $26.00 Canadian shipping charges are 50% of overseas charges ALL PAYMENTS FOR FOREIGN ORDERS MUST BE MADE WITH EITHER: • INTERNATIONAL MONEY ORDER • CHECK DRAWN IN U.S. DOLLARS FROM A U.S.
    [Show full text]
  • Chick Willis Uk £3.25
    ISSUE 163 WINTER 2020 CHICK WILLIS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by CHRISTMAS STOCKING FILLERS Merlin Daleman CHICK WILLIS pictured at the Birmingham Jazz Festival. Chick makes an appearance in a new feature for Jazz BIG BEAR RECORDS CD OFFER Rag. We link up with Henry’s Blueshouse in Birmingham to EXCLUSIVELY FOR READERS OF THE JAZZ RAG present Henry’s Bluesletter (pages 32-33) ALL CDS £8 EACH OR THREE FOR £16 INCLUDING P&P 4 FESTIVAL IN TIME OF PLAGUE Birmingham, Sandwell and Westside Jazz Festival goes ahead 5 THE VIRUS IN NUMBERS JAZZ CITY UK VOLUME 2: THE JAM SESSIONS 6 ‘A TRUE NEW ORLEANS CHARACTER’ Coroner/trumpeter Frank Minyard Howard McCrary Various Artists Various Artists Lady Sings Potato Head 7 I GET A KICK OUT OF… Moments Like This Jazz City UK Volume 2 Jazz City UK Volume 1 The Blues Jazz Band Promoter John Billett Laughing at Life Stompin’ Around 8 COMPETITION: LOUIS ARMSTRONG 9 GOODBYE TO A STAR Roger Cotterrell on Peter King 11 BBC YOUNG JAZZ MUSICIAN OF THE YEAR 12 SUPERBLY SWINGING Alan Barnes remembers Dick Morrissey Remi Harris Trio Tipitina King Pleasure & Nomy Rosenberg Django’s Castle 14 FRENCH BOOGIE STAR Ninick Taking Care of The Biscuit Boys Nomy Rosenberg Trio with Bruce Adams Ron Simpson profiles Ben Toury Business Live At Last Swing Hotel du Vin 16 50 BY LOUIS Scott Yanow’s choice FIND US ON FACEBOOK 18 ROY WILLIAMS IN PICS The Jazz Rag now has its own Facebook page. For news of upcoming festivals, gigs and releases, 20 REFLECTING DREAMS Marilyn Mazur interviewed by Ron Simpson features from the archives, competitions and who knows what else, be sure to ‘like’ us.
    [Show full text]
  • October 2010 E-Mail
    The Foot Tappers News October - November 2010 Celebrate 15 Years of Jazz at Café Jazz Font line Musicians Ian Jameson, Pete Locke Eric Swift Photographs © Paul Dunleavy The Memphis Seven 19th October 2010 e-mail :- Editorial [email protected] Tel :- 029 20625639 September 2010 In October we celebrate 15 years of presentations at Café Jazz and to mark this we have some of your favourite bands plus a new band to us from London – more about them later. In those 15 years we have had the 10th Avenue Band and the Black Eagle Bands as well as Jim Beatty, Jeff Barnhart, and Jim Fryer from the USA, Mysto’s Hot Lips Band form Sweden, the late Tommy Burton, Phil Mason. Spats Langham, Roy Williams, John Barnes and numerous others from the UK as well as our great local musicians. The Adamant, Marching Band played at Brecon Cathedral to a packed congregation and then paraded to the Castle Hotel via the town with the Dean adopting the role of Parade Marshal. I assume the festival went ahead, but a walk through town showed little or no festival activity. Well done “The fringe” for providing some excellent music, personally I think that they should have the Arts Council funding as at least they tried to get back to the roots of the festival in providing music by Welsh musicians and involving the local community. A reminder for those who like to come to Café Jazz by car. You can park your car in the new St David’s Car Park, at the John Lewis Store, for £1.00.
    [Show full text]
  • James R. and Susan Neumann Jazz Collection Series 3: Concert Programs, 1942-2009 and Undated
    Oberlin Conservatory Library Special Collections James R. and Susan Neumann Jazz Collection Series 3: Concert Programs, 1942-2009 and undated P a g e | 1 Event Title or Performer Name Date Physical Extent AACM Festival 1985, 1990 Julian "Cannonball" Adderley All Star Musical Festival Oct 15 and 16, 1959 American Festival of Music 1959-1963, 1965 Ann Arbor Blues and Jazz Festival 1970, 1973 Antibes/Juan les Pins Festival 1966, 1967, 1969 Arbors Jazz 2 folders Louis Armstrong 3 folders Astrodome Jazz Festival Atlanta Jazz Festival Atlantic City Jazz Festival Atlantic Mutual Jazzfest Pearl Bailey Josephine Baker Banlieues Bleues Chris Barber Count Basie 2 folders Bay Area Jazz Festival 1972-1973 Beaulieu Jazz Festival 1960 Sidney Bechet Louis Bellson Belvedere Jazz Festival Tony Bennett Bergamo Jazz 1998 Berkley Jazz Festival 1976, 1984 Berkshire Music Barn 1958 Berliner Jazztage 1968 Berliner Jazz Tage 1970 Bill Berry and the L.A. Band Big Band Sounds 1942 Big Broadcast 1944 The Big Rhythm and Blues Show Oberlin Conservatory Library l 77 West College Street l Oberlin, Ohio 44074 l [email protected] l 440.775.5129 Oberlin Conservatory Library Special Collections James R. and Susan Neumann Jazz Collection Series 3: Concert Programs, 1942-2009 and undated P a g e | 2 The Big Show 1957, 1965 The Biggest Show of… 1951-1954 Birdland 1956 Birdland Stars of… 1955-1957 Art Blakey's Jazz Messengers Blue Note Boston Globe Jazz Festival Boston Jazz Festival Lester Bowie British Jazz Extravaganza Big Bill Broonzy Les Brown and His Band of Renown
    [Show full text]
  • Trad Jazz in 1950S Britain—Protest, Pleasure, Politics— Interviews with Some of Those Involved
    Trad jazz in 1950s Britain—protest, pleasure, politics— interviews with some of those involved George McKay These are transcriptions of interviews and correspondence undertaken as part of an Arts and Humanities Research Board (now Council)-funded project exploring the cultures and politics of traditional jazz in Britain in the 1950s. The project ran through 2001-2002 and was entitled American Pleasures, Anti- American Protest: 1950s Traditional Jazz in Britain. I edited responses, and structured them here according to the main issues I asked about and to key points that seemed to recur from different interviewees. There is a short-ish introduction to give a sense of context to readers unfamiliar with that period of Britain’s cultural history. I hugely enjoyed meeting and talking with these people, whose cultural and political autobiographies were full of energy, rebellion, fun, with music at the heart. Thank you. Some—Jeff Nuttall, George Melly—are, sadly, now dead. Material from these interviews, and a second set I undertook with modern jazzers and enthusiasts (I acknowledge that the distinction between trad and modern doesn’t always bear scrutiny) was included in my book Circular Breathing: The Cultural Politics of Jazz in Britain (Duke University Press, 2005). Do contact me if you have any queries. George McKay University of Salford, UK [email protected] April 2002; revised (with extra images) September 2002; revised introduction January 2010 (little has change except the point that I now know that the David Boulton jazz historian and the David Boulton of CND were one and the same person) Most of the archive photographs here are either from Jeff Nuttall’s photo album, which he gave me at the end of our interview in Abergavenny—I’d like to pass it on to a family member, please—or © and courtesy of the Ken Colyer Trust: www.kencolyertrust.org 1 Introduction British jazz has arrived, in Britain at any rate.
    [Show full text]
  • Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
    Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F.
    [Show full text]
  • Pass Christian
    Jazz In The Pass John Handy, Jr. Pass Christian International Jazz Musician & Jazz in the Pass A short history A Pictorial Documentary by Dan Ellis Web Site – DanEllis.Net Web Site – PassChristian.Net email – [email protected] Jazz In The Pass Captain John Handy Sax Altoist, Clarinetist Pass Christian’s Little Known Internationally Famous Jazz Great In April 1970, when the New Orleans Jazz and Heritage Festival was then celebrated as a 3-day weekend, events were held mainly in the Municipal Auditorium and at Beauregard Square that fronted the auditorium. Top billing was Mahalia Jackson and Captain Capt. John Handy Handy. Mahalia soulfully sang “Down by the Riverside,” “Precious Lord Take My Hand,” “Deep as the Sea,” and other gospel standards. Captain John Handy lead his jazz group, “Handy’s Louisiana Shakers” into many of his well known recorded pieces. Now famous, Ellis Marsalis was just making his first introductions to fans as he played his piano with a group called the “All Stars.” At that time, Friday night performances were held in the Municipal Auditorium; Saturday activities at noon, opened with a street parade lead by the Eureka Brass Band that brought everyone to hear the open air performances in Beauregard Square. Saturday Dan Ellis Historical Series -2- Jazz In The Pass evening performances were with Al Hirt, Duke Ellington and others in the Auditorium. Sundays were staged with impromptu music sessions mixed with Blues, Cajun, and Gospel choirs held in Beauregard Square with food and crafts available. That was Captain Handy’s last Jazz Fair, he died at age 70 in Pass Christian, just a few days after sitting in with his Pass friends as he played some of his favorite jazz and blues.
    [Show full text]
  • 100 Jazz Vocals Volume 1 Sheehan, Beverley and Leake, Allan. 100 Jazz Vocals Volume 2 Sheehan, Beverley and Leake, Allan
    100 Jazz vocals Volume 1 Sheehan, Beverley and Leake, Allan. 100 Jazz vocals Volume 2 Sheehan, Beverley and Leake, Allan. 14 miles on a clear night : an irreverent, sceptical, and affectionate book about jazz records Gammond, Peter And Clayton, Peter 15 years of the Yarra Yarra Jazz Band Brown, Eric James. 15 years of the Yarra Yarra Jazz Band Brown, Eric James. 1935 Edition Of Parlophone Rhythm Style Jackson, Edgar Comp. 1942 Edition Of Swing Music And Hot Rhythm Records... Jackson, Edgar Comp. 1944 Edition Of Parlophone Rhythm Style Jackson, Edgar Comp. 30th anniversary of the Geelong jazz club 1980-2010 Parsons, David 52nd Street, the street of jazz Shaw, Arnold. A call to assembly : an American success story Ruff, Willie A catalague of 'Clarion' & 'Ebonoid' records. A history of their manufacture / by Frank Andrews Carter, Sydney H A century of jazz Carr, Roy A critic looks at jazz Borneman, Ernest. A discographical listing of jazz recordings of New Zealand. Volume 2, 1981- 2000. Huggard, Dennis O. A discography of Ade Monsbourgh Ricketts, Jack. A discography of the ' Little ' recording companies Miller, William H. A Few Personal Notes About La Vere's Chicago Loopers Acker, Clive A golden age of Jazz revisited 1939-1942 : three pivotal years of musical excitement when Jazz was world's popularSchumacher, music Hazen. A Guide To American Dance Music Issued On The Clifford Industries 'Custom Labels' Of 1928- 29 Laird, Ross. A guide to popular music Gammond, Peter A guide to the big band era : a comprehensive review of all the recorded hits and all the hitmakers Belaire, David C.
    [Show full text]
  • Newsletter 2015
    1 It’s been another exciting year here at Upbeat – Upbeat Jazz sales are still increasing – we’re so glad you like our releases – and sales of the American jazz label Jazz Crusade are also increasing,Newsletter and so we now2015 have embarked on a round of redesigns and reprints on many of the titles. You will find a feature page of new releases and redesigns on the back cover of 2018 this Newsletter. We have lots of new releases and special offers across the labels which we are sure you will enjoy! Here’s to 2018 – keep jazzin’! Liz Biddle NEW! NEW ORLEANS – Original Soundtrack and Out-takes from the 1947 Cult Movie featuring Louis Armstrong, Billie Holiday, Kid Ory, Barney Bigard, Mutt Carey and Zutty Singleton URCD276 1 CD £12.99 A much anticipated re-release of a long out of print title. It was a fabulous idea which in true Hollywood fashion ended up a fiasco! However, there remains the music which, unlike the film, is just plain wonderful! The list of artists here is an A-Z of jazz royalty and there are 29 great tracks for you to enjoy. So close your eyes and be transported back to 1947 and the birth of jazz in New Orleans! NEW! NEW! NEW! NEW! THE ORIGINAL CRANE RIVER SAMMY RIMINGTON – A LOUIS ARMSTRONG & HIS ALL KEN COLYER – Colyer at JAZZ BAND with KEN COLYER: Snapshot of his American STARS – Live in Vancouver 1951 Wimbledon Reunited URCD272 1 CD £12.99 Recordings 1995-1999 URCD277 1 CD £12.99 URCD275 1 CD £12.99 URCD274 1 CD £12.99 The Crane River Jazz Band is one of the Featuring Jack Teagarden and Earl Ken Colyer includes several numbers most revered jazz bands of the 20th This selection of recordings by Hines, this CD pre dates the two Jack he had used over the years but Century.
    [Show full text]